Introduction 14-Channel Mic/Line Mixer

Mackie’s 1402-VLZ PRO combines the compact

size of the 1202-VLZ PRO with added features and
60mm log-taper faders. Its six new “audiophile”
XDR™ Extended Dynamic Range mic preamps offer
the best RFI rejection of any compact mixer design.
Added benefits include maximum freedom from
ground loops and impeccable sonic performance
that meets or exceeds the specs of esoteric, out-
board mic preamplifiers. The XDR design is the only
compact mixer mic preamp that is totally impedance
independent: frequency response does not change
even with extremely long cable runs or exceptionally
high-impedance mic inputs. Features
A sharp, 18dB/octave 75Hz Low Cut filter on each 6 low noise/high headroom XDR™ (Extended
mic channel greatly reduces mic thumps, wind noise Dynamic Range) XLR mic inputs with the best
and stage rumble. Mute/Alt 3-4 effectively creates a
RF rejection of any compact mixer design and
maximum freedom from ground loops
second stereo bus. The Mute button on each channel
6 balanced/unbalanced mono line inputs
mutes that channel in the Main Mix, while simultane-
4 pairs of balanced/unbalanced stereo line inputs
ously placing the signal on the Alt 3-4 stereo bus,
60mm log-taper faders
greatly increasing signal routing flexibility.
48V global phantom power
The EFX to Monitor feature allows routing of
reverb or other effects signals back into a monitor
3-band EQ (12kHz, 2.5kHz, 80Hz)
mix via Aux Send 1. Aux 1 Master’s Pre/Post switch 75Hz, 18dB/octave Low Cut filter on Channels 1–6
can be set for pre-fader/post-EQ use, which is bene- PFL/AFL Solo (in-place) on all channels (global)
ficial for stage monitor mixes, or post-fader/post-EQ Very Low Impedance (VLZ) architecture
for use with external effects. It also has a level con- EFX to Monitor switch
trol for added flexibility. Alt 3-4 extra stereo bus
Control Room/Phones has its own level control, Balanced inputs and outputs (except RCAs and
channel inserts)
stereo output pair and input matrix for selecting any
combination of Main Mix, Tape In and Alt 3-4 to
Balanced XLR Main L/R outputs with mic/line
level switch plus 1/4" Main L/R outputs
create custom headphone mixes, to monitor tape
60dB Gain on Channels 1–6
levels, and more. A separate switch routes this
Global Aux 1 Pre/Post-Fader switch
multi-source signal back into the Main Mix.
Level Setting LED and marker
Because of its many features and durability, the
1402-VLZ PRO can be used for extra studio-grade Applications
preamps, as aux inputs for a mixing console, or as Live sound mixing for churches, clubs, school audi-
an impedance- or level-matching audio toolkit. toriums, school sports centers, hotel conference
centers, boardrooms, trade shows, presentations
Multitrack studio and field recording
Headphone or cue mixer, impedance or level match-
RM1402-VLZ Rack-Mount Brackets (not included), ing “tool kit”
1202-VLZ PRO 12-Channel Mic/Line Mixer, 1604-VLZ A/V presentations, video post production, CD
PRO 16-Channel Mic/Line Mixer, 1642-VLZ PRO 16- authoring, multimedia
Channel Mic/Line Mixer, SRM350/SRM450 Active Live broadcast remotes, ENG, ad production
2-Way SR Loudspeakers, M•800/M•1400i/M•1400
Power Amplifiers, C200/C300z passive 2-way SR Loud-
speakers
Specifications
Mic Preamp EQ
Equivalent Input Noise (20Hz–20kHz): High Shelving: ±15db @ 12kHz
150Ω –129.5dBu Mid Peaking: ±12dB @ 2.5kHz
50Ω –131.0dBu Low Shelving: ±15db @ 80Hz
0Ω –134.5dBu
Frequency Response: Power Consumption
–1dB 5Hz–100kHz 120VAC, 50/60Hz, 25 Watts
–3dB 3Hz–192kHz
IM Distortion (4 to 1 ratio SMPTE) Physical
35dB gain 0.0008% Weight 9.5 lbs. (4.5 kg)
Harmonic Distortion (20Hz–20kHz) Dimensions 13" x 14" x 2.9" (330mm x 356mm x 74mm)
35dB gain 0.0007%
Gain
Max +60dB
Min 0dB or Unity 14" (356mm)
Max Input +22dB
Input Impedance 1.3kΩ
Common Mode Rejection > 90dB

12.9" (328mm)
8 rack spaces
Common Mode Rejection Ratio > 140dB
Main Mix Noise1
Main Mix down, ch. faders down: –90.5dB
Main Mix @ unity, ch. faders down: –90.5dB
Main Mix fader @ unity, channel faders @ unity: –88.5dB
Total Harmonic Distortion (THD)2
0.005%
Attenuation (Crosstalk)3
Main fader down: –85dBu
Channel Alt 3-4/Mute switch engaged: –84dBu
Channel fader down: –83dBu
Frequency Response4
Mic input to any output
20Hz to 60kHz: +0dB/–1dB
20Hz to 100kHz: +0dB/–3dB
Maximum Levels
19" (483mm)
Mic in: +22dBu
with RM1402-VLZ Rackmount brackets
Tape in: +16dBu
(74mm)

All other inputs: +22dBu

2.9"

Main Mix XLR outputs: +28dBu

All other outputs: +22dBu
14" (356mm)
Impedances
(74mm)

Mic in: 1.3kΩ

2.9"

Channel Insert return: 2.5kΩ

All other inputs: > 10kΩ
13.1" (333mm)
Tape out: 1.1kΩ
All other outputs: 120 ohms Specifications footnotes:
1) 20Hz–20kHz bandwidth, 1/4" Main out, channels 1–6 Trim @ unity gain, channel EQs flat, all
channels assigned to Main Mix, channels 1, 3 and 5 Pan left, 2, 4 and 6 Pan right. Reference +4dBu.
2) 1kHz @ +14dBu, 20Hz–20kHz.
3) 1kHz relative to 0dBu, 20Hz–20kHz bandwidth, Line in, 1⁄4" Main Out, Trim @ unity.
4) Any input to any output.
5) Mic in to Insert Send out, max gain.
 MIC 1 MIC 2 MIC 3 MIC 4 MIC 5 MIC 6 LEFT/MONO RIGHT ALL BAL/UNBAL TAPE TAPE BAL/UNBAL
XDR
MIC PR
E XDR
MIC PR
E XDR
MIC PR
E XDR
MIC PR
E XDR
MIC PR
E XDR
MIC PR
E 1 1 INPUT OUTPUT L

L 1402-VLZ PRO
2 2 R

STEREO AUX RETURN AUX SEND MAIN OUT

BAL BAL BAL BAL BAL BAL
OR OR OR OR OR OR MONO MONO MONO MONO
UNBAL UNBAL UNBAL UNBAL UNBAL UNBAL
L L L L
LINE IN 1 LINE IN 2 LINE IN 3 LINE IN 4 LINE IN 5 LINE IN 6
BAL BAL BAL BAL
LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT LOW CUT OR OR OR OR
75 Hz 75 Hz 75 Hz 75 Hz 75 Hz 75 Hz UNBAL UNBAL UNBAL UNBAL
18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT 18dB/OCT

-10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV -10dGBAV R R R R

U MIC IN U MIC IN U MIC IN U MIC IN U MIC IN U MIC IN

LEVEL LEVEL LEVEL LEVEL PHONES

0
+4 +4 +4 +4
0 60 0 60 60 0 60 0 60 0 60
+15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB +15dB -45dB -10 -10 -10 -10

TRIM TRIM TRIM TRIM TRIM TRIM LINE IN 7–8 LINE IN 9–10 LINE IN 11–12 LINE IN 13–14

U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U AUX U U

1 1 1 1 1 1 1 1 1 1
MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/ MON/
EFX EFX EFX EFX EFX EFX EFX EFX EFX EFX
1
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +10 OO +20
U U U U U U U U U U AUX 1 MASTER U NORMALLED
2
2 2 2 2 2 2 2 2 2 2 PRE
EFX EFX EFX EFX EFX EFX EFX EFX EFX EFX POST
AUX 1 EFX TO AUX
OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 OO +15 SELECT MONITOR OO +20 RETURN
U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ U EQ LEFT RIGHT
C-R/SOURCE 0dB=0dBu
HI HI HI HI HI HI HI HI HI HI
12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz 12kHz
28

-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 MAIN MIX 10
U U U U U U U U U U 7

MID MID MID MID MID MID MID MID MID MID 4
2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz 2.5kHz ALT 3–4
2
-12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12 -12 +12
U U U U U U U U U U 0

TAPE 2
LOW LOW LOW LOW LOW LOW LOW LOW LOW LOW
80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz 80Hz
4
-15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15 -15 +15
7
PAN PAN PAN PAN PAN PAN PAN PAN PAN PAN ASSIGN LEVEL
TO MAIN MIX 10
SET
20
NORMAL (AFL)
LEVEL SET (PFL) 30
L R L R L R L R L R L R L R L R L R L R
SOLO
MODE
1 2 3 4 5 6 7–8 9–10 11–12 13–14 RUDE
SOLO
MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE LIGHT
ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 ALT 3–4 PHANTOM POWER

CTL ROOM /SUBMIX MAIN MIX

dB dB dB dB dB dB dB dB dB dB dB dB
10 10 10 10 10 10 10 10 10 10 10 10
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
5 5 5 5 5 5 5 5 5 5 5 5

U U U U U U U U U U U U

5 5 5 5 5 5 5 5 5 5 5 5

10 10 10 10 10 10 10 10 10 10 10 10

20 20 20 20 20 20 20 20 20 20 20 20

30 30 30 30 30 30 30 30 30 30 30 30

40 40 40 40 40 40 40 40 40 40 40 40
50 50 50 50 50 50 50 50 50 50 50 50
60 60 60 60 60 60 60 60 60 60 60 60
OO OO OO OO OO OO OO OO OO OO OO OO
 TAPE OUT L
PHANTOM POWER (GLOBAL SWITCH) INSERT LINE
MUTE / ALT OUT L

ALT R
AUX 1 PRE
AUX 1 POST

ALT L
MAIN R
MAIN L
AUX 2 POST
TRIM FADER PAN 1

AFL L
AFL R
PFL
LOGIC
2
1 2 LO MID HI 2
3 1
75Hz 80 2K5 12K 3 MAIN MIX BAL OUT L
3 HPF LOW
MIC IN 4 30dB PAD
CUT MAIN FADERS
AFL L 2 BAL OUT R
3-BAND EQ
LINE IN AFL R 3 1
SOLO
PFL LINE
MONO CHANNEL (1 OF 6) OUT R
LOGIC ALT OUT L
AUX SEND 2 TAPE OUT R
POST ALT OUT R +28
PRE ALT MIX +10
+7
+4
AUX SEND 1 +2
0
SOURCE -2
FADER ALT -4
LO MID HI MUTE / ALT -7
TAPE IN -10
1 CONTROL ROOM -20
80 2K5 12K L -30
LINE IN L 2 TAPE & PHONES MIX
R METERS
(MONO) PAN 3 ØdBu=Ø VU
+4 /-10
4
MAIN RUDE
LO MID HI
SOLO
AFL L LED
LINE IN R 80 2K5 12K SOLO RELAY
3-BAND EQ AFL R
SOLO
PFL AFL L

LOGIC AFL R
AUX SEND 2
PFL
STEREO CHANNEL (1 OF 4) POST PFL LED
PRE
SOLO MIX
AUX SEND 1 CONTROL ROOM LEFT
SIP (SOLO IN PLACE) /
L IN PFL (PRE-FADER LISTEN)
(MONO) PHONES OUT
AUX RETURN 1 GAIN ASSIGN TO MAIN

CONTROL ROOM RIGHT

R IN

AUX 1 PRE / POST CONTROL ROOM &

L IN PHONES FADER
AUX 1 LEVEL
AUX 1 OUT
AUX RETURN 2 GAIN AUX 1 MIX

R IN AUX 2 OUT
AUX 2 MIX
EFX TO
MONITOR
 Architect’s and Engineer’s Specifications
1. GENERAL CONFIGURATION. The mixer shall
accommodate 6 microphone signals, mono chan-
nels 1–6; 14 line signals, mono channels 1–6 and
stereo channels 7–14; 2 stereo pairs of Aux Return
inputs; 6 Send/Return channel Inserts; 2 stereo
pairs of Main Mix outputs; 1 stereo pair of Control
Room outputs; 2 stereo pairs of RCA-type phono
Tape outputs and inputs; 1 stereo pair of Alt 3-4
outputs; 2 Aux Send outputs; and 1 stereo head-
phone output. The mixer shall be capable of place-
ment on a table or installation in a standard 19-inch
rack mount (via optional rack rail brackets) and
shall be entirely self-contained.
2. MIXER INPUTS.
MONO CHANNELS 1–6: The mixer shall include
6 XDR(tm) (Extended Dynamic Range) electronically
balanced mic inputs, using XLR-3-F-type connec-
tors, accepting nominal levels from –60dBu to
+4dBu via 6 rotary Trim controls. Phantom power
shall be available via a globally-controlled rocker-
type switch. 6 balanced or unbalanced (bal/unbal)
line inputs shall be wired in parallel, using 1/4" TRS
phone jacks, accepting nominal levels from –45dBu
to +4dBu. The mixer shall include 6 channel Inserts,
using 1/4" TRS phone jacks (tip=send, ring=return,
sleeve=ground), delivering and accepting nominal
levels from –10dBV to +4dBu.
STEREO CHANNELS 7/8, 9/10, 11/12 and 13/14:
The mixer shall include 8 bal/unbal line inputs,
forming 4 stereo input pairs, using 1/4" TRS phone
jacks, accepting nominal levels from –10dBV to
+4dBu, with +4dBu/–10dBV level switches. OTHER
INPUTS: The mixer shall include 4 bal/unbal Aux
Return inputs, forming two stereo pairs, using 1/4"
TRS phone jacks, accepting nominal levels from
–10dBV to +4dBu. The mixer shall include 1 stereo
pair of Tape In jacks, using unbalanced RCA-type
phono jacks, accepting nominal levels from –20dBV
to +0dBu.
3. MIXER OUTPUTS.
MAIN OUTPUTS: The mixer’s Main Output stereo
pairs shall be fitted in three ways: Using balanced
XLR-3-M-type connectors, delivering maximum output
of +4dBu, including 1 Main Output Level switch to
provide 30dB attenuation (XLR outputs only; –26dBu
nominal level); using bal/unbal 1/4" TRS phone jacks,
delivering nominal levels from –10dBV to +4dBu; and
using unbalanced RCA-type phono jacks (labeled TAPE
OUT), delivering nominal levels from –10dBV to +4dBu.
OTHER OUTPUTS: The mixer shall include 1 stereo
pair of Alt 3-4 outputs using bal/unbal 1/4" TRS
phone jacks, delivering maximum output of +22dBu;
1 stereo pair of Control Room outputs using bal/
unbal 1/4" TRS phone jacks, delivering a maximum
output of +22dBu; 2 Aux Send outputs using bal/
unbal 1/4" TRS phone jacks, delivering nominal
levels from –10dBV to +4dBu; and 1 stereo Head-
phone output using an unbalanced 1/4" TRS phone
jack (tip=left, ring=right, sleeve=ground).
4. MIXER INPUT SECTION. In addition to the con-
trols listed in section 2 (MIXER INPUTS), each chan-
nel shall include 2 rotary Aux Send controls, provid-
ing up to 15dB gain; 3 rotary equalization (EQ) con-
trols: ±15dB @ 12kHz shelving, ±12dB @ 2.5kHz
peaking and ±15dB @ 80kHz shelving; 1 rotary Pan
control, 4dB attenuation panned center; 1 Mute/Alt
3-4 switch, to be used as a channel mute or to
route the signal to the alternate stereo bus (Alt
3-4); 1 dual-mode solo switch (AFL or PFL, globally
switched); and 1 channel fader, providing up to 10dB
above unity gain.
5. MIXER OUTPUT SECTION. The mixer shall have
2 Main Mix faders, providing up to 10dB gain; 1 Con-
trol Room/Submix Fader, providing up to 10dB gain;
1 Source Matrix including 3 switches to deliver any
combination of stereo signals to the Control Room,
Phones and Meters, including Main Mix, Alt 3-4 and
Tape, which shall be replaced by any solo signals
resulting from the engagement of any channel’s Solo
switch; 1 Assign to Main Mix switch to deliver the
Source Matrix signals to the Main Mix; 1 Solo Mode
switch to globally determine solo type (pre-fader
listen or after-fader listen, in place); 2 rotary Aux
Return level controls, providing up to 20dB gain; 1
rotary Aux Send 1 Master control, providing up to
10dB gain; 1 Aux Send global Pre/Post switch; 1 EFX
to Monitor switch, allowing Aux Return 1 signals to
be delivered to Aux Send 1 via the Aux Return 2 level
control; and 1 blinking red Solo LED, to indicate a
solo condition.
6. METERING. The mixer shall include 1 stereo
12-segment LED meter with points at –30, –20, –10,
–7, –4, –2, 0, +2, +4, +7, +10, and +28dB (clip).
The source signals for the meters shall be the same
signals selected in the Source Matrix, and a solo
condition shall replace the Source selection with the
soloed channel(s). The meters shall be calibrated so
that a 0dBu signal at the Control Room output shall
be indicated as 0dB on the meters, ±1 LED.
7. PHYSICAL CONFIGURATION. The mixer shall be
made of steel, painted dark gray with light gray graph-
ics. The mixer’s dimensions shall be 2.9" (74mm) in
height, 14.0" (356mm) in width and 13.0" (330mm) in
depth, as viewed horizontally. The mixer shall weigh
9 lbs, 8 oz (4.5 kg). Optional RM1402-VLZ rack-mount
brackets shall allow the mixer to be mounted in a rack
system, with either the chassis top or the control knobs’
tops to be flush with the rack rail.
8. SPECIFICATIONS. In addition to specifications
already cited, the mixer shall meet or exceed the fol-
lowing specifications: Frequency response: microphone
input to any output, 20Hz to 60kHz, +0dB/–1dB; Total
Harmonic Distortion (THD): any input to any output,
1kHz @ +14dBu, 0.0007%; Equivalent Input Noise FILES FOR DOWNLOADING
(EIN): microphone input to insert send, –129.5dBu; 1402VLZP.PDF this specification sheet
Common Mode Rejection (CMR): microphone input to 1402AE.TXT text version of Architect’s and
Engineer’s Specifications for insertion into proposals
insert send, maximum gain, 1kHz, better than 90dB;
Typical Main Output noise: all channels assigned, chan-
nels 1, 3 and 5 panned left, channels 2, 4 and 6
panned right, –86.5dBu; Signal to Noise ratio: ref
+4dBu operating level, 90dB; Attenuation: ref. 0dB @
1kHz, Main Mix level control down, –85dBu; Channel
Mute engaged, –84dBu; Channel Gain control down,
–83dBu; Input impedance: microphone inputs, 1.3 kΩ;
Channel Insert return, 2.5 kΩ; All other inputs, greater
than 10 kΩ; Output impedance: Tape Out, 1.1 kΩ; All
other outputs, 120Ω.
The mixer shall be a Mackie 1402-VLZ PRO.

www.mackie.com
16220 Wood-Red Road NE, Woodinville, WA 98072 USA
LOUD Technologies continually engages in research related to product improvement. New material,
production methods, and design refinements are introduced into existing products without notice
as a routine expression of that philosophy. For this reason, any current LOUD Technologies product
may differ in some respect from its published description, but will always equal or exceed the
original design specifications unless otherwise stated. ©1999-2004 LOUD Technologies Inc. All
rights reserved.
Part No. 091-295-00 Rev. B

800.898.3211, fax 425.487.4337, sales@mackie.com

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